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支持系统：Windows.MAC

音源厂商：https://www.chocolateaudio.com/products/steinbach-upright

使用采样器：Kontakt 7. Kontakt 8加载

文件大小：5.6GB

当我们选择制作钢琴乐器时，我们仔细选择了从哪架立式钢琴开始。面对大尾声时，选择相当有限，但立式钢琴则完全不同。我们想要一架钢琴，既能发出饱满的声音，又能发出许多历史录音所特有的浅薄的、几乎走调的音调。我们采样了一架由 Steinbach 在都灵制造的精美的意大利立式钢琴，并将其放置在一个中型宽敞的录音室中，周围环绕着大量麦克风。

微距麦克风
我们从一开始就不满足于一对麦克风或有限的麦克风选择，我们希望确保钢琴在采样和编辑过程后有最好的机会保留其灵魂，这是很难实现的。正因为如此，我们使用的麦克风比最终使用的要多得多。

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这么多麦克风！

麦克风的选择
这些是我们在多次播放和聆听编辑后的样本后精心挑选的麦克风：

一对 Royer R121 匹配对，采用一致的 Blumlein 配置

另一对 Royer R121 匹配对，采用间隔配置

一个 Neumann M149 电子管麦克风，从非常特殊的位置拾取声音

一对匹配的 Oktava MK101 拾音头，用于拾取生动的房间声音

这些麦克风，无论是单独使用还是组合使用，都能为您提供您可能想象到的直立式钢琴中最广泛的音色范围。为了保持音调平衡，我们甚至仔细地对所有麦克风进行了相位对齐。

点菜混音
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有人可能会认为，有四种不同的麦克风选择和组合加上混响，不可能找到完美的平衡。

事实并非如此。

我们相信，这款乐器通过其内置混音器可轻松打开许多不同的声音世界。此工具专注于通过一些定制控件轻松获得结果：

音量

声像调节，将声音置于特定方向

静音和独奏

宽度，控制立体声信号的宽度

混响发送，由内置 IR 混响处理的每个麦克风的信号量

主效果是带有精选频率中心的 3 频段均衡器、预设压缩器和磁带模拟以及 IR 混响

在每个单通道上，您可以使用简单但非常有效的 3 频段均衡器

高级采样和脚本
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我们相信，这个时代的真正突破是创造先进的高品质乐器，这些乐器不需要您在开始使用它们制作音乐之前获得计算机编程硕士学位。让音乐家的事情变得简单总是意味着为我们开发人员引入越来越多的复杂层次。首先，我们是音乐家，我们不希望您最终将我们的产品放在虚拟架子上并忘记它们，因为它们太难学习和使用。

单击"清除静音"只会从内存中删除所有静音通道，不再占用 RAM、CPU 和流媒体资源。

最佳资源管理
我们为您完成艰苦的工作

同时处理具有四个麦克风的钢琴乐器会给系统资源带来沉重的负担。CPU 和磁盘流的播放声音量、RAM 中的预加载和加载时间可能会受到影响。

简单，有深度
我们对采样乐器的方法是让您内心的音乐家摆脱任何技术负担。保证快速、完全满意：您只需要演奏，在设计我们的乐器时，我们始终以最快的学习曲线作为参考。同时，当有技术需要调整和微调时，我们的多层用户界面可以实现这一点，让您两全其美。

预设丰富
我们的效果部分不需要音频工程学位即可发挥其最大作用。

这是我们的工作。

只需选择 23 个主要预设中的一个，然后使用一些精心选择的参数对其进行微调即可。

压缩器和磁带模拟部分通常很难让不熟悉音频调整功能的人掌握，它具有不少于 22 + 22（仅使用单个麦克风时，标有 + 号）的预设，并带有一个简单的量旋钮来控制它以符合您的口味。

混响部分对于原声钢琴尤其重要，它拥有内部开发的 101 个精心挑选的高质量脉冲响应集合，这些脉冲响应来自真实空间以及备受推崇的复古和现代工作室硬件。

When we chose to create piano Instruments, we carefully chose which upright piano to start from. When facing grand codas, the choice is rather limited, but upright pianos are a totally different world. We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.

Macro-phones
We didn't settle for a single pair or a limited selection of microphones from the start, we wanted to make sure that the piano, after the sampling and editing process had the best chances to preserve its soul, something which can be hard to achieve. For this very reason, we used many more microphones than the ones we ended up with.

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So Many Mics!

Choice of Microphones
These are the Mics we carefully selected after multiple playing and listening sessions on the edited samples:

a Royer R121 matched-pair in a coincident Blumlein configuration

another Royer R121 mathced.pair in a spaced configuration

a single Neumann M149 tube mic picking up sound from a very particular position

a pair of matched Oktava MK101 capsules to pick up the lively room sound

These microphones, by themselves or combined, give you the widest possible gamut of tonal colors you might imagine in an upright piano. To preserve tonal balance, we even carefully phase-aligned all of the microphones.

Mixing a-la-carte
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One might think that having four different choices and combinations of mics plus the reverb would make finding the perfect balance impossible.

It is not.

This Instrument, we believe, easily opens up many different sonic worlds by using its on-board mixer. This tool is focused on easy-to-get results with a few tailored controls:

Volume

Panpot, places the sound in a specific direction

Mute and Solo

Width, controls the width of the stereo signals

Reverb Send, amount of signal for each microphone that gets processed by the on-board IR Reverb

Master effects are a 3-band EQ with cherry-picked frequency centers, a Preset Compressor & Tape Emulation and the IR Reverb

On each single channel you might use a simple but very effective 3-band EQ

Advanced sampling and scripting
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We believe the real break-through in these ages is creating advanced, high-quality Instruments which don't require you to earn a master in computer programming before you start making music with them. Making matters easy for the musician always means introducing more and more layers of complication for us developers. First of all we are musicians, and we don't want you to end up putting our products on a virtual shelf and forget about them because they are too hard to learn and use.

A click on Purge Muted simply removes from memory all muted channels, not anymore weighing on RAM, CPU and streaming resources.

Optimal resources management
We do the hard work for you

Dealing with a piano Instrument featuring four microphones at the same time can bring an heavy load on system resources. The amount of playback voices for the CPU and Disk Streaming, preload in RAM and load times could suffer.

Simplicity, with depth
Our approach to sampled Instruments is to let the musician in you fly free of any technical burden. Fast, full satisfaction is guaranteed: you just need to play, the fastest possible learning-curve is always kept as a reference when designing our Instruments. At the same time, when there's that techie-need to tweak and fine-tune, our multi-layer user interfaces allow for it, giving you the best of both worlds.

Preset-galore
Our effects section doesn't require a degree in audio-engineering to make the best out of it.

This is our job.

Just select one of the 23 main Presets and fine tune it using a few carefully selected parameters.

The Compressor & Tape Emulation section, usually hard to grasp for the inexpert in audio tweaking feature no less than 22 + 22 (for when using a single Mic only, marked with a + sign) presets with a simple Amount knob to rule it to your taste.

The Reverb section, so critical for acoustic pianos in particular, features an in-house developed collection of 101 carefully selected high quality Impulse Responses coming from both real spaces and revered vintage and contemporary studio hardware.